Tag Archives: Nathan O’Keefe

Laid low with cancer as a child, Kate Mulvany fell in love with Kit Williams’ classic picture book Masquerade while in hospital. She has now adapted it for the stage, interweaving the moving story of a very sick child and his mother.

Co-produced by Griffin Theatre Company and the State Theatre Company of South Australia, and playing as part of the Sydney Festival, Masquerade is a delightful family show that captures the style, tone and quirky magic of the quixotic book.

Masquerade tells a strange, fantastical, riddle-filled story. The Moon is full of longing for the Sun and so sends the bumbling Jack Hare to deliver him a message of love along with a golden, bejeweled, hare-shaped amulet. Given the laws of nature, Jack has just 12 hours to complete his mission between sunrise and sunset.

Along the way he meets all kinds of crazy characters from Tara Treetops and The Man Who Plays the Music That Makes the World Go Round to Sir Isaac Newton. But when he reaches the Sun Jack finds he has lost the amulet and forgotten the precise wording of the message.

Published in 1979, the book became a phenomenon not just for its story but for the wonderfully detailed paintings (also by Williams) that illustrated it. In each picture was hidden a hare. On top of that, the book contained clues to a real golden amulet that Williams had hidden somewhere in England (which was discovered in 1982).

Williams is now something of a recluse but Mulvany managed to make contact with him through his wife Eleyn (a jeweler) and visited them at their home in Gloucestershire. Touched by the story of her own connection to the book, Williams gave Mulvany permission to adapt it for the stage on two conditions: that she include her own story and that the production be a family play for anyone aged nine to 90.

Mulvany’s adaptation begins in a hospital where a single mother called Tessa (Helen Dallimore) starts reading the book to her son Joe (Jack Andrew at the opening performance, a role he shares with Louis Fontaine) to help cheer him after chemotherapy. As she reads, the story unfolds around Joe’s curtained hospital bed.

Mulvany adds a second act in which Tessa and Joe enter the world of the story and try to help Jack Hare (Nathan O’Keefe) find the amulet.

Directed by Lee Lewis and Sam Strong, the production features a vibrant, clever design by Anna Cordingley that references the look of the book while creating an aesthetic of its own.

Pip Brandon, Nathan O’Keefe and Kate Cheel. Photo: Brett Boardman

A band of letters frames the stage (as it does the drawings in the book) and is used to spell out the answers to the riddles. Joe’s hospital bed sits centrestage on a revolve, with images projected onto the curtains when they are drawn. The bed is replaced by another structure for the second act.

Cordingley’s wonderful costumes are colourful and inventive, though the text cries out for a more dazzlingly gold suit for the Sun (Mikelangelo) than the rather subtly shiny one he wears.

Geoff Cobham’s lighting also brings colour and magic to the stage, though some performers occasionally got caught in half-light on opening night. The silvery light for the Moon (Kate Cheel) could be a little more luminously otherworldly, but there are lots of nice lighting effects.

The production also features original music and songs composed by Pip Branson and Mikelangelo and performed live by Balkan cabaret band Mikelangelo and the Black Sea Gentlemen, which work a treat.

Running two hours including interval, the first act unfolds a little slowly and could be tightened. Some people who didn’t know the book were also slightly bemused by some of the characters.

In Act Two, however, the play finds its rhythm. Mulvany has included lots of fun word play with jokes for adults and children. Jack’s lusting for carrots, in particular, caused much laughter from the young children near me.

The emotional dimension of the play also really kicks in after interval (though it has been building towards the end of the first act). Mulvany hasn’t shied away from darker themes of mortality, pain and grief (as well as the power of love) ­­– though the way she uses the explanation of death from The Man Who Plays the Music That Makes the World Go Round is movingly and gently applied.

There are terrific performances across the board. O’Keefe is outstanding as Jack Hare, bringing oodles of endearing charm and sweet, goofy comedy to the pivotal role.

Dallimore and Andrew work beautifully together as the deeply worried but loving, stalwart Tessa and the terminally ill Joe, both giving authentic, moving performances that never tip into sentimentality.

Cheel is lovely as the ethereal Moon and ebullient Tara Treetops, while Zindzi Okenyo – who juggles the roles of a Fat Nurse, a dancing Fat Pig, the mean Penny Pockets, the yoga-practicing Dawn and a friendly fish – does a great job of creating very different, clearly delineated, quirky characters.

The musicians also take on roles with Mikelangelo as The Sun and The Practical Man, Branson as The Man Who Plays the Music That Makes the World Go Round and Sir Isaac Newton, and Guy Freer, Sam Martin and Phil Moriarty as a tone-deaf Barber’s Quartet reduced to a trio.

The production will doubtless be finessed as it develops but already Masquerade is a gently charming, moving show made with a lot of love.

Sydney Opera House is presenting two children’s shows for the school holidays: Windmill Theatre’s Pinocchio and CDP Theatre Producers’ The Incredible Book Eating Boy. And with one end of the western foyer converted to a play area, it’s a lively place for families to be.

Acclaimed Adelaide company Windmill Theatre, which makes adventurous shows for children, is in Sydney with its 2012 musical production of Pinocchio, presented by the Sydney Opera House and Sydney Theatre Company.

Based on Carlo Collodi’s book about the wooden boy who longs to become real, director Rosemary Myers and writer Julianne O’Brien have created a version that combines a dark fairytale feel with a fun modern edge.

It begins unexpectedly with a blue-haired girl crashing her motorbike into the tree from which Pinocchio will be carved (an underdeveloped take on the blue fairy, who we don’t see again until the second act).

Then we’re into familiar territory with the tale of the naughty, easily led Pinocchio who is lured away from his maker/father the lonely toymaker Geppetto by the evil Stromboli. After a series of frightening adventures, Pinocchio returns home to Geppetto with love in his heart.

With one section set in the reality TV-like Stromboliland, Windmill’s production is more of a cautionary tale about greed and the lure of celebrity, while raising questions about what is real, rather than about simply telling the truth.

It’s cleverly staged around a large, flexible tree trunk on a revolving stage (designed by Jonathon Oxlade) onto which images are projected. The most charming effects, however, are the simpler theatrical ones – the way Geppeto carves Pinocchio, the way Pinocchio’s nose grows.

There are excellent performances across the board. Nathan O’Keefe uses his lanky frame brilliantly as a larky, willful Pinocchio, Alirio Zavarce is touching as the soft-hearted, clown-like Geppetto, Paul Capsis is a deliciously wicked Stromboli, Jude Henshall and Luke Joslin are very funny as roving wannabes Kitty Poo and Foxy, Danielle Catanzariti is suitably ethereal as Blue Girl and Oxlade is delightfully whimsical as the cricket (for which he uses a puppet).

Pinocchio runs around two hours including interval. For all its colourful treatment, it’s a fairly dark show (as is Collodi’s original story) and younger children could be frightened. It’s recommended for ages 7+.

Jethro Woodward’s songs have an energetic rock vibe but I’m not sure they are pitched at children and some of the humour didn’t land with youngsters around me. Others clearly loved it, however, and the show got a rousing response at the end.

For the littlies (aged 3+) the Opera House is presenting CDP Theatre Producers’ stage adaptation of Oliver Jeffers’ best-selling picture book The Incredible Book Eating Boy.

Henry loves books – well, eating them anyway. The more he eats, the smarter he gets and so his appetite for the printed word grows and grows. But that many books are hard to digest. When he starts to feel ill and begins muddling up all the information he has consumed, he has to stop. Eventually, a sad Henry picks up one of his half-eaten books and begins to read it and falls in love with books afresh.

Writer Maryam Master fleshes out the story with an opening nightmare and more about Henry’s family and cat, most of which works well though the extended cat poo joke feels overdone and gratuitous – in fact, it made me feel a bit sick. By the time Henry began regurgitating books, I was feeling almost as queasy as him.

Directed by Frank Newman, the production is beautifully staged. Andrea Espinoza’s lovely set and costumes have the look of a picture book while cleverly incorporating books into every aspect of the stage design.

The cast of three – Gabriel Fancourt as Henry with Madeleine Jones and Jo Turner playing several roles – are all very good, creating characters the young audience can relate to.

The message that it’s better to read books than chow down on them is a quirky way to inspire children. The production would benefit from a little more dramatic magic at the end when Henry finally discovers the joy of reading to underline how exciting books can be. As it is, he just smiles, so it’s the images of eating and vomiting books that we remember.